Search results for ""author painters"

• Un libro favorito: con más de 900 reseñas positivas: destacado por profesionales y elogiado constantemente por sus ilustraciones detalladas, explicaciones concisas y variedad de enfoques• Completo: con proyectos para artistas principiantes, intermedios y avanzados, para que el lector gane en confianza y mejore sus habilidades• Cubre todos los niveles: con proyectos para artistas principiantes, intermedios y avanzados, el lector podrá estudiar los conceptos básicos antes de saltar a nuevos desafíos creativos.Domina más de 80 técnicas de pintura con talleres paso a paso y consejos de artistas profesionalesLos talleres completamente ilustrados de artistas profesionales te guían a través de más de 80 técnicas de pintura, que incluyen lavado plano, piel, efectos escultóricos o empaste. -------------------------------------------------------------------------------------------------------------• Favorite one: With 900 positive reviews, is a favorite practitioner choice and is consistently praised for its wealth of information and concise explanations• Expansive: Includes projects suitable for beginner, intermediate, and advanced painters alike, so readers are sure to build confidence and improve skills.•Fully illustrated, step-by-step workshops from professional artists guide you through more than 80 painting techniques.

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Romantic landscape painting and the tradition of recounting fairy tales have their roots in the 19th century. The painter Philipp Fröhlich transposes them to the present. In his works Hansel and Gretel are dressed like people of the 21st century, and his scenes of nature, which are rendered in a style that approaches photorealism, provide a sharp contrast to the anti-modernism that is usually associated with fairy tales. While we were able to identify with the heroes from the picture books of our childhood, the figures in Fröhlich’s art seem eerily removed from us. The canvases are huge and give the impression to viewers that they have become part of the pictures themselves. Fröhlich studied stage design in Düsseldorf until 2002, and gradually switched from theatre work to painting. But his artistic approach is still influenced by his initial training. Beginning with notes and preparatory studies, Fröhlich develops models, some of which are elaborately designed, to try out the composition of the future picture. The resulting stage-like, almost cinematic quality of his paintings leads to an intriguing mixture of precise, cool realism and soft painterly effects – as if we were gazing into a distorting mirror between reality and fantasy. Text in English and German.

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Tells the story of Rembrandt and his marriage to Saskia, the love of his life. Paintings, drawings, etchings, objects, letters and poems tell the tale of a society marriage in 17th century Holland. Accompanies a travelling exhibition in The Netherlands at the Fries Museum, 24 November, 2018, to 19 March 2019 and in Kassel, Germany, 12 April, to 11 August 2019. The year 2019 marks the 350th anniversary of Rembrandt's death. Rembrandt van Rijn married Saskia van Uylenburgh, the love of his life, in Friesland (the Netherlands) in 1634. The famous painter came to know her when she visited her cousin in Amsterdam, Hendrick van Uylenburgh, Rembrandt's art dealer. This book, the catalogue for a travelling exhibition, sketches a picture of marriage in the time of Rembrandt and Saskia. Their story is the tale of a high society marriage in seventeenth century Holland, from courtships to weddings to daily married life and funerals. The show follows Rembrandt and Saskia from their meeting to her untimely early death after 10 years of marriage. Paintings, drawings, and etchings by Rembrandt, as well as letters and poetry, are featured alongside wedding portraits, objects, and jewellery from the period, offering insight into what weddings and married life meant in the Golden Age of 17th century Holland.

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What could possibly go wrong when three intrepid mice decide to go into business making clocks? Find out in this colorful, hilarious storybook that boys and girls will want to read again and again.Hickory, Dickory, and Doc are three brothers who just happen to be mice. They decide to go into business making clocks and launch The Hickory Dickory Doc Clock Factory Limited!It was a brilliant plan! Hickory was a good carpenter. He could cut out the numbers and the hands of the clocks. Dickory was a good painter. He could paint the clocks. Doc was the oldest and cleverest of the three. He would be in charge of making the insides of the clock.What could go wrong? As it turns out, a lot, when each and every clock gets wound the wrong way and time starts to run backward. Everyone started doing everything backward. People wore socks over shoes. They wore their underwear OVER their pants! All the clocks need to be fixed.In the end, lessons are learned, neighbors are friends, and The Hickory Dickory Dock Clock Factory Limited is a great success. If you've heard of Mickey Mouse and the Three Blind Mice, you'll love the story of these three adventurous, adorable brothers: Hickory, Dickory, and Doc!Also available: Hickory Dickory Doc This Isn't My House! and Hickory Dickory & Doc Uncle Able to the Rescue.

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In this collection of essays, leading academics, critics, and artists historicize collage and appropriation tactics that cut across diverse media and genres. They take up issues of appropriation in the popular and the avant-garde, in altered billboards and the work of the renowned painter Chris Ofili, in hip-hop and the compositions of Béla Bartók and Zoltán Kodály, and in audio mash-ups, remixed news broadcasts, pranks, culture jamming, and numerous other cultural forms. The borrowing practices that they consider often run afoul of intellectual property regimes, and many of the contributors address the effects of copyright and trademark law on creativity. Among the contributors are the novelist and essayist Jonathan Lethem, the poet and cultural critic Joshua Clover, the filmmaker Craig Baldwin, the hip-hop historian Jeff Chang, the ’zine-maker and sound collage artist Lloyd Dunn, and Negativland, the infamous collective that was sued in 1991 for sampling U2 in a satirical sound collage. Cutting Across Media is both a serious examination of collage and appropriation practices and a celebration of their transformative political and cultural possibilities. Contributors. Craig Baldwin, David Banash, Marcus Boon, Jeff Chang, Joshua Clover, Lorraine Morales Cox, Lloyd Dunn, Philo T. Farnsworth, Pierre Joris, Douglas Kahn, Rudolf Kuenzli, Rob Latham, Jonathan Lethem, Carrie McLaren, Kembrew McLeod, Negativland, Davis Schneiderman, David Tetzlaff, Gábor Vályi, Warner Special Products, Eva Hemmungs Wirtén

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In this collection of essays, leading academics, critics, and artists historicize collage and appropriation tactics that cut across diverse media and genres. They take up issues of appropriation in the popular and the avant-garde, in altered billboards and the work of the renowned painter Chris Ofili, in hip-hop and the compositions of Béla Bartók and Zoltán Kodály, and in audio mash-ups, remixed news broadcasts, pranks, culture jamming, and numerous other cultural forms. The borrowing practices that they consider often run afoul of intellectual property regimes, and many of the contributors address the effects of copyright and trademark law on creativity. Among the contributors are the novelist and essayist Jonathan Lethem, the poet and cultural critic Joshua Clover, the filmmaker Craig Baldwin, the hip-hop historian Jeff Chang, the ’zine-maker and sound collage artist Lloyd Dunn, and Negativland, the infamous collective that was sued in 1991 for sampling U2 in a satirical sound collage. Cutting Across Media is both a serious examination of collage and appropriation practices and a celebration of their transformative political and cultural possibilities. Contributors. Craig Baldwin, David Banash, Marcus Boon, Jeff Chang, Joshua Clover, Lorraine Morales Cox, Lloyd Dunn, Philo T. Farnsworth, Pierre Joris, Douglas Kahn, Rudolf Kuenzli, Rob Latham, Jonathan Lethem, Carrie McLaren, Kembrew McLeod, Negativland, Davis Schneiderman, David Tetzlaff, Gábor Vályi, Warner Special Products, Eva Hemmungs Wirtén

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By the age of thirty, Weldon Kees (1914–55) was a poet, journalist, musician, painter, photographer, and short story writer living in New York City. Despite a contract for a forthcoming novel, however, he stopped writing fiction, moved to San Francisco, and worked as an artist and filmmaker. On July 18, 1955, his car was found on the Golden Gate Bridge, and he has not been seen since. These stories by Kees, predominantly set in Depression-era mid-America, feature bleak, realistic settings and characters resigned to their meager lives. The owner of an auto parts store occasionally "sells" his sister Betty Lou to interested patrons; a cryptic message in library books indicates the yearnings of a silenced patron; a young woman taking tickets at the Roseland Gardens futilely dreams of escape from the future she sees for herself; and an old man carefully saves his money to fulfill the requirements of a chain letter only to be disappointed by a spiteful daughter-in-law. Many of these stories are set in the Nebraska of Kees's youth, and they are written from a Midwestern sensibility: keenly observant, darkly humorous, and absurdly fantastic.In this new edition, Dana Gioia has added three stories to the fourteen gathered in the first edition, The Ceremony and Other Stories. The New York Times named that first edition, published in 1984, a notable book of the year.

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From a world-renowned painter, an exploration of creativity’s quintessential—and often overlooked—role in the spiritual life “Makoto Fujimura’s art and writings have been a true inspiration to me. In this luminous book, he addresses the question of art and faith and their reconciliation with a quiet and moving eloquence.”—Martin Scorsese “[An] elegant treatise. . . . Fujimura’s sensitive, evocative theology will appeal to believers interested in the role religion can play in the creation of art.”—Publishers Weekly Conceived over thirty years of painting and creating in his studio, this book is Makoto Fujimura’s broad and deep exploration of creativity and the spiritual aspects of “making.” What he does in the studio is theological work as much as it is aesthetic work. In between pouring precious, pulverized minerals onto handmade paper to create the prismatic, refractive surfaces of his art, he comes into the quiet space in the studio in a discipline of awareness, waiting, prayer, and praise. Ranging from the Bible to T. S. Eliot, Mark Rothko, and Japanese Kintsugi technique, he shows how, unless we are making something, we cannot know the depth of God’s being and God’s grace permeating our lives. This poignant and beautiful book offers the perspective of, in Christian Wiman’s words, an “accidental theologian,” one who comes to spiritual questions always through the prism of art.

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Comprising essays specially commissioned for the volume, leading scholars who have shaped the field of corporate law and governance explore and critique developments in this vibrant and expanding area and offer possible directions for future research. This important addition to the Research Handbooks in Law and Economics series provides insights into subjects such as the role of directors, shareholders, creditors and employees; empirical studies of litigation and shareholder activism; executive compensation; corporate gatekeepers; comparative law; and behavioral approaches to law and finance. Topics are organized within five sections: corporate constituencies, insider governance, gatekeepers, jurisdiction, and new theory. Taken as a whole, the volume serves as an introduction for those new to the field and as a reference for those unfamiliar with some of the topics discussed. Authoritative and accessible, the Research Handbook on the Economics of Corporate Law will be a valuable resource for students, scholars, and practitioners of corporate law and economics. Contributors: R.B. Ahdieh, V. Atanasov, S.M. Bainbridge, B. Black, M.M. Blair, M.T. Bodie, C.S. Ciccotello, D.C. Clarke, L.A. Cunningham, A. Darbellay, S.M. Davidoff, L.M. Fairfax, F. Ferri, J.E. Fisch, T. Frankel, R.J. Gilson, S.J. Griffith, C.A. Hill, R. Kraakman, D.C. Langevoort, I.B. Lee, B.H. McDonnell, R.W. Painter, F. Partnoy, D.G. Smith, R.S. Thomas, R.B. Thompson, D.I. Walker, C.K. Whitehead

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To his contemporaries in late 16th-century Venice, El Greco (1541­–1614) was a contrary fellow, an innate artist blessed with extraordinary talent, but stubborn in the pursuit of his own path. Throughout his career, as he progressed from Crete to Venice, to Rome and ultimately Toledo, Spain, “The Greek” stood apart from his peers, merging different Western art traditions to create a unique pictorial language. El Greco’s single-minded style rejected naturalism and rejected accessibility. Works such as The Disrobing of Christ (1577–79), The Burial of the Count of Orgaz (1586–88), and The Vision of St John (1608–14) reveal elongated, twisted figures; unreal colors; and an experimental rendering of space — all resistant to easy viewing and intent, instead, on an art of epic grandeur and intellectual beauty. Frequently regarded with suspicion and criticism during his lifetime, El Greco was revived by a troop of ardent modern admirers, including Pablo Picasso, Roger Fry, and Der Blaue Reiter pioneer Franz Marc. Today, the artist belongs to the privileged group of great old master painters, as much an anomaly of his age, as a reference point across the centuries. This essential introduction from TASCHEN Basic Art 2.0 explores the influences and the ingredients of El Greco’s radical and singular vision, from the symbolic world of Byzantine icons and the humanistic values of the Renaissance to the nascent beginnings of conceptual practice.

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Eighteenth-century France witnessed an unprecedented proliferation of materially unstable art, from oil paintings that cracked within years of their creation to enormous pastel portraits vulnerable to the slightest touch or vibration. In A Delicate Matter, Oliver Wunsch traces these artistic practices to the economic and social conditions that enabled them: an ascendant class of art collectors who embraced fragile objects as a means of showcasing their disposable wealth.While studies of Rococo art have traditionally focused on style and subject matter, this book reveals how the physical construction of paintings and sculptures was central to the period’s reconceptualization of art. Drawing on sources ranging from eighteenth-century artists’ writings to twenty-first-century laboratory analyses, Wunsch demonstrates how the technical practices of eighteenth-century painters and sculptors provoked a broad transformation in the relationship between art, time, and money. Delicacy, which began the eighteenth century as a commodified extension of courtly sociability, was by century’s end reimagined as the irreducible essence of art’s autonomous value.Innovative and original, A Delicate Matter is an important intervention in the growing body of scholarship on durability and conservation in eighteenth-century French art. It challenges the art historical tendency to see decay as little more than an impediment to research, instead showing how physical instability played a critical role in establishing art’s meaning and purpose.

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Because Dutch seventeenth-century painting is primarily known for its naturalism, representing the divine posed particular problems for painters of religious stories, especially Rembrandt. Indeed, if seeing is believing, then the visible presence of angels – and finally the presence on earth of Christ as the divine Incarnation in the flesh – could confirm to the senses the presence of divine providence in the world. Angels also evoke a sense of wonder in all who behold them, those who are blessed to receive their visitation from a watchful, if invisible God. Like John Calvin, Rembrandt carefully read his Bible. Thus his angels, represented traditionally as winged creatures, actively participate in important religious events, particularly in Old Testament scenes, beginning with Abraham. In later biblical history, however, angelic appearances diminish; both God – and angels as His agents – intervene less directly to interact with humankind. In Rembrandt’s art, angels are active and visible, but sometimes they reveal their identity just as they disappear, flying away. Other Rembrandt religious images convey divine presence only through light rays from above. With the New Testament advent of Christ, however, angelic attendants chiefly magnify the divine nature of Jesus in the world. Following the theology of John Calvin that dominated Dutch spirituality, Rembrandt allows his pious viewers to behold those very angels or, like Mary Magdalene and the apostles, even to view the divine nature of the risen Christ.

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Yusuf Franko Kusa Bey (1856–1933), a high-ranking bureaucrat in fin-de-siècle Ottoman imperial administration, was also a talented caricaturist. Because of his duties in the Ottoman Foreign Ministry, and spending most of his life in Istanbul, he was both a member and an observer of high-society social circles in Pera [Beyoglu]. Ambassadors, ministers, diplomats, famous opera singers, painters, Pashas and Efendis, Madames and Monsieurs, were part of this social milieu, and most of them became eternally recorded through the ‘types and charges’ in Yusuf Franko’s caricature album. Including images of himself, he charged his subject materials, the people in his social network, with their particular qualities and transformed their portraits into witty caricatures that reflected contemporary scenes of social life and political debates in Pera. This book, which accompanies the facsimile of Yusuf Franko’s own caricature album, Youssouf, consists of three articles and an annotated appendix. While the articles analyze the majority of his caricatures from diverse perspectives (his family history and biography, the history of contemporary European caricature art and politics, and the social and spatial context in which he drew his caricatures), the appendix gives brief information about each caricature plate following the exact order in the facsimile. These extraordinary caricatures are published for the first time in their entirety since they were discovered in an antique rug dealer’s shop in Istanbul in 1957.

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A searing psychological thriller of trauma, dark academia, complicity, and revenge, revealing the horrors that happen in the dark, the girls who become cautionary tales, and the guilty who go unpunished. Until now. "A smart, dark, feminist revenge thriller" pHEAT MAGAZINE Barnes & Noble Thriller of the month Three campfire secrets. Two witnesses. One dead in the trees. And the woman, thirty years later, bent on making the guilty finally pay. 1988. A group of outcasts gather at a small, prestigious arts camp nestled in the Maine woods. They're the painters: bright, hopeful, teeming with potential. But secrets and dark ambitions rise like smoke from a campfire, and the truths they tell will come back to haunt them in ways more deadly than they dreamed. 2018. Esteemed art professor Max Durant arrives at his protégé's remote home to view her graduate thesis collection. He knows Audra is beautiful and brilliant. He knows being invited into her private world is a rare gift. But he doesn't know that Audra has engineered every aspect of their weekend together. Every detail, every conversation. Audra has woven the perfect web. Only Audra knows what happened that summer in 1988. Max's secret, and the dark things that followed. And even though it won't be easy, Audra knows someone must pay.

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A sweeping exploration of the shaping role of animal skins in written culture and human imagination over three millennia “Richly detailed and illustrated. . . . An engaging exploration of book history.”—Kirkus Reviews For centuries, premodern societies recorded and preserved much of their written cultures on parchment: the rendered skins of sheep, cows, goats, camels, deer, gazelles, and other creatures. These remains make up a significant portion of the era’s surviving historical record. In a study spanning three millennia and twenty languages, Bruce Holsinger explores this animal archive as it shaped the inheritance of the Euro-Mediterranean world, from the leather rolls of ancient Egypt to the Acts of Parliament in the United Kingdom. Holsinger discusses the making of parchment past and present, the nature of the medium as a biomolecular record of faunal life and environmental history, the knotty question of “uterine vellum,” and the imaginative role of parchment in the works of St. Augustine, William Shakespeare, and a range of Jewish rabbinic writers of the medieval era. Closely informed by the handicraft of contemporary makers, painters, and sculptors, the book draws on a vast array of sources—codices and scrolls, documents and ephemera, works of craft and art—that speak to the vitality of parchment across epochs and continents. At the center of On Parchment is the vexed relationship of human beings to the myriad slaughtered beasts whose remains make up this vast record: a relationship of dominion and compassion, of brutality and empathy.

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Following the U.S.-Mexican War (1846-1848), lands that had for centuries belonged to New Spain, and later to Mexico, were transformed into the thirty-first state in the United States. This process was facilitated by visual artists, who forged distinct pictorial motifs and symbols to establish the state's new identity. This collective cultural inheritance of the Spanish and Mexican periods forms a central current of California history but has been only sparingly studied by cultural and art historians. California Mexicana focuses for the first time on the range and vitality of artistic traditions growing out of the unique amalgam of Mexican and American culture that evolved in Southern California from 1820 through 1930. A study of these early regional manifestations provides the essential matrix out of which emerge later art and cultural issues. Featuring painters, printmakers, photographers, and mapmakers from both sides of the border, this collection demonstrates how they made the Mexican presence visible in their art. This beautifully illustrated catalogue addresses two key areas of inquiry: how Mexico became California, and how the visual arts reflected the shifting identity that grew out of that transformation. Published in association with the Laguna Art Museum, and as part of the Getty's Pacific Standard Time: LA/LA. Exhibition dates: Laguna Art Museum: October 15, 2017-January 14, 2018

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Focusing on the art of Henri Fantin-Latour (1836-1904) and his colleagues Gustave Courbet, Edgar Degas, Edouard Manet, Frederic Bazille, and Pierre-Auguste Renoir, Fellow Men argues for the importance of the group as a defining subject of nineteenth-century French painting. Through close readings of some of the most ambitious paintings of the realist and impressionist generation, Bridget Alsdorf offers new insights into how French painters understood the shifting boundaries of their social world, and reveals the fragile masculine bonds that made up the avant-garde. A dedicated realist who veered between extremes of sociability and hermetic isolation, Fantin-Latour painted group dynamics over the course of two decades, from 1864 to 1885. This was a period of dramatic change in French history and art--events like the Paris Commune and the rise and fall of impressionism raised serious doubts about the power of collectivism in art and life. Fantin-Latour's monumental group portraits, and related works by his friends and colleagues from the 1850s through the 1880s, represent varied visions of collective identity and test the limits of association as both a social and an artistic pursuit. By examining the bonds and frictions that animated their social circles, Fantin-Latour and his cohorts developed a new pictorial language for the modern group: one of fragmentation, exclusion, and willful withdrawal into interior space that nonetheless presented individuality as radically relational.

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The Greek sculptor Lysippos of Sicyon (fourth century BCE) represented Kairos carrying a razor in his left hand. According to the epigram dedicated to this statue by Posidippus of Pella (mid-third-century BCE), the Greek divinity of the opportune moment is said to move with a swiftness that is sharper than any razor’s edge. Why does Kairos carry a razor in his hand? And how does the knife relate to opportunity and temporality? This book embarks on a narrative detour to answer these questions. Stories of revelation and transformation are anatomised to discover the moments of the knife pulsating underneath the surface. The sword grasped at the right moment by the Biblical heroine Judith, Abraham’s sacrificial knife, the eucharistic knife from the Castello Sforzesco in Milan, Psyche’s razor, the surgeon’s scalpel, or the apocalyptic double-edged sword each figure as multifaceted imaginations of these kairotic moments. Under the skin of this book lives the question raised by Gotthold Ephraim Lessing (1729–1781) in his Laokoon oder über die Grenzen der Mahlerey und Poesie (1766). Who is best suited to capture the right moment, the painter, or the poet? At the heart of it all is the disruption of time itself. The moment of the knife is the time of the wound in time. Sudden, sharp, and unexpected this moment pierces deep into the human experience, stirring the soul with a swiftness beyond imagination.

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Renowned and much-loved travel writer Jan Morris turns her eye to Sydney: 'not the best of the cities the British Empire created ... but the most hyperbolic, the youngest at heart, the shiniest.' Sydney takes us on the city's journey from penal colony to world-class metropolis, as lively and charming as the city it describes. With characteristic exuberance and sparkling prose, Jan Morris guides us through the history, people and geography of a fascinating and colourful city. Jan Morris's collection of travel writing and reportage spans over five decades and includes such titles as Venice, Hong Kong, Spain, Manhattan '45, A Writer's World and the Pax Britannica Trilogy. Hav, her novel, was shortlisted for the Booker Prize and the Arthur C. Clarke Award. 'Sydney should be flattered. A great portrait painter has chosen it for her recent subject . . . Few writers - a handful of novelists apart - have got so far under the city's skin as Morris . . . Few Sydneysiders could match her knowledge of their city's history and its anecdotes' The Times 'The writing is, at times, like surfing: sentences rise like vast waves above which she rides, never overbalancing into gush . . . Jan Morris convincingly explains modern Sydney through its history' Observer

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In 1778 Pierre Henri De Valenciennes, a young landscape painter from Toulouse, found himself in Rome with many other foreign artists intent on studying not only the ancient monuments and the works of the modern masters, but also to encounter Italy's light and landscape. Contrary to most of his companions, Valenciennes rarely copied ancient or modern works of art, but instead he chose to sketch views of Rome, 'a mix of antique and of modern, an assemblage of irregularity and symmetry'. The 96 pages of the sketchbook, reproduced in their actual size and accompanied by a commentary, guide us through Rome, from the river port of Ripa Grande to the basilica of St. John Lateran, from the Ponte Salario bridge to the Vatican, from Piazza Barberini to the Villa Borghese and along the banks of the river Tiber. An advocate of en plein air painting, Valenciennes' sketches use two or three tints of the same colour to trace the landscape of an ideal Rome, and to achieve this goal he did not hesitate to modify or move the surrounding architecture. Contents: Preface by Xavier Salmon, Director of the Prints and Drawings Department of the Louvre; Introduction; Travel to Italy and meeting with artists; Valenciennes' Italian Sketchbooks; Description of the organisation of Sketchbook RF 12966; Material Description; Provenance; List of Exhibitions, Bibliography. Text in French.

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Lines from a Canvas offers the public one of the best kept secrets in the world of poetry for years, the work of Jacob Miller. His poems uniquely traverse the cultural territory from Homer to the Grateful Dead, taking the reader from ancient Greece and Rome to the Holocaust to the Cold War to Vietnam to 9/11. In short, the expansive canvas of his content presents a compelling spectrum mixing classical and modern brush strokes, all while exploring experiences of love and loss, isolation and separation, as well as mortality. Consistent with his content, though perhaps of even greater importance, the crowning achievement shown in this collection is Jacob Miller’s new poetic technique, which delivers the reader to an expertly constructed and long-needed bridge between classical traditions (such as rhyme and meter, or even hidden slant rhymes or assonance connections), and imagistic free-verse. Additionally, this collection contains the poet’s free-verse libretto to the modern opera Manhattan in Charcoal, (recently released on CD). The title poem, Lines from a Canvas, offers the point of view of a canvas, not the painter, and this launches the operative conceit in this collection: each poem explores the perspective of the canvas of life and death, more than the poet himself. Each poem truly brings something new to the page.

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Together, Cranach's paintings and Luther's powerful oratory created a force field that transformed Germany, Europe, and ultimately the Western world This compelling book retells and revises the story of the German Renaissance and Reformation through the lives of two controversial men of the sixteenth century: the Saxon court painter Lucas Cranach (the Serpent) and the Wittenberg monk-turned-reformer Martin Luther (the Lamb). Contemporaries and friends (each was godfather to the other’s children), Cranach and Luther were very different Germans, yet their collaborative successes merged art and religion into a revolutionary force that became the Protestant Reformation. Steven Ozment, an internationally recognized historian of the Reformation era, reprises the lives and works of Cranach (1472–1553) and Luther (1483–1546) in this generously illustrated book. He contends that Cranach's new art and Luther's oratory released a barrage of criticism upon the Vatican, the force of which secured a new freedom of faith and pluralism of religion in the Western world. Between Luther's pulpit praise of the sex drive within the divine estate of marriage and Cranach's parade of strong, lithe women, a new romantic, familial consciousness was born. The "Cranach woman" and the "Lutheran household"—both products of the merged Renaissance and Reformation worlds—evoked a new organization of society and foretold a new direction for Germany.

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I’m not a portrait painter. If I’m anything, I have always been an autobiographer.Self-Portrait reveals a life truly lived through art. In this short, intimate memoir, Celia Paul moves effortlessly through time in words and images, folding in her past and present selves. From her move to the Slade School of Fine Art at sixteen, through a profound and intense affair with the older and better-known artist Lucian Freud, to the practices of her present-day studio, she meticulously assembles the surprising, beautiful, haunting scenes of a life. Paul brings to her prose the same qualities that she brings to her art: a brutal honesty, a delicate but powerful intensity, and an acute eye for visual detail.At its heart, this is a book about a young woman becoming an artist, with all the sacrifices and complications that entails. As she moves out of Freud’s shadow, and navigates a path to artistic freedom, Paul’s power and identity as an artist emerge from the page.Self-Portrait is a uniquely arresting, poignant book, and a work of art and literature by a singular talent. 'Fascinating… Painfully honest on what it means to be a woman who puts art first, no matter what.’ Olivia Laing, New Statesman**Shortlisted for the Slightly Foxed Best First Biography Prize 2019**

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An easy-to-follow, step-by-step manga drawing instruction book from fan favourite manga artist and painter Camilla d'Errico, featuring 30 lessons on illustrating cute, cool and quirky characters in the Pop Surrealist style with pencils. With appearances at Comic Cons and her paintings displayed in art galleries around the world, Camilla d'Errico has established herself as a go-to resource for manga-influenced art. Following in the footsteps of her past art-instruction books 'Pop Manga' and 'Pop Painting', 'Pop Manga Drawing' provides the most direct and accessible lessons yet for rendering characters in her signature Pop Surrealist style. Written in the fun and encouraging voice that fans have come to expect, this book takes you step-by-step through lessons on drawing with graphite and mechanical pencils, along with insights on enhancing pieces with other mediums (including coloured pencils and pastels). It also provides tips and expert advice on drawing specific elements, including hands, hair and backgrounds, that can take your manga art to the next level. 'Pop Manga Drawing' grants one-of-a-kind access to the basic building blocks of artistic expression, giving you the tools you need to create your own pop manga masterpieces.

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See the world through Frida Kahlo's eyes and be inspired to produce your own masterpieces.Have you ever wondered exactly what your favourite artists were looking at to make them draw, sculpt, or paint the way they did? In this charming illustrated series of books to keep and collect, created in full collaboration with The Metropolitan Museum of Art, you can see what they saw, and be inspired to create your own artworks, too. In What the Artist Saw: Frida Kahlo, meet the famous Mexican painter. Learn all about how she experimented with different ways of painting herself, and how she channelled her experiences into her art. Have a go at producing your own self portrait!In this series, follow the artists' stories and find intriguing facts about their environments and key masterpieces. Then see what you can see and make your own art. Take a closer look at landscapes, or even yourself, with Vincent van Gogh. Try crafting a story in fabric like Faith Ringgold, or carve a woodblock print at home with Hokusai. Every book in this series is one to treasure and keep - perfect for budding young artists to explore exhibitions with, then continue their own artistic journeys.© The Metropolitan Museum of Art, New York

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A story inside a story inside a story. A man visits his aging father in a nursing home, where his father writes the novel he imagines his son would write. Or is it the novel that the son imagines his father would imagine, if he were to imagine the kind of novel the son would write?Let's simplify: a woman seeks an apprenticeship with a painter, claiming to be his long-lost daughter. A contractor-for-hire named Murphy can't distinguish between the two brothers who employ him. And in Murphy's troubled dreams, Nat Turner imagines the life of William Styron. These narratives twist together with anecdotes from the nursing home, each building on the other until they crest in a wild, outlandish excursion of the inmates led by the father. Anchoring these shifting plotlines is a running commentary between father and son that sheds doubt on the truthfulness of each story. Because, after all, what narrator can we ever trust?Not only is Percival Everett by Virgil Russell a powerful, compassionate meditation on old age and its humiliations, it is an ingenious culmination of Everett's recurring preoccupations. All of his prior work, his metaphysical and philosophical inquiries, his investigations into the nature of narrative, have led to this masterful book. Percival Everett has never been more cunning, more brilliant and subversive, than he is in this, his most important and elusive novel to date.

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Today we view Cézanne as a monumental figure, but during his lifetime (1839-1906), many did not understand him or his work. With brilliant insight, drawing on a vast range of primary sources, Alex Danchev tells the story of an artist who was never accepted into the official Salon: he was considered a revolutionary at best and a barbarian at worst, whose paintings were unfinished, distorted and strange. His work sold to no one outside his immediate circle until his late thirties, and he maintained that 'to paint from nature is not to copy an object; it is to represent its sensations' - a belief way ahead of his time, with stunning implications that became the obsession of many other artists and writers, from Matisse and Braque to Rilke and Gertrude Stein. Beginning with the restless teenager from Aix who was best friends with Emile Zola at school, Danchev carries us through the trials of a painter tormented by self-doubt, who always remained an outsider, both of society and the bustle of the art world. Cézanne: A life delivers not only the fascinating days and years of the visionary who would 'astonish Paris with an apple', with interludes analysing his self-portraits, but also a complete assessment of Cézanne's ongoing influence through artistic imaginations in our own time. He is, as this life shows, a cultural icon comparable to Monet or Toulouse.

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This is a groundbreaking examination of one of the most important artists in the Western tradition by one of the leading art historians and critics of the past half-century. In his first extended consideration of the Italian Baroque painter Michelangelo Merisi da Caravaggio (1573-1610), Michael Fried offers a transformative account of the artist's revolutionary achievement. Based on the A. W. Mellon Lectures in the Fine Arts delivered at the National Gallery of Art, The Moment of Caravaggio displays Fried's unique combination of interpretive brilliance, historical seriousness, and theoretical sophistication, providing sustained and unexpected readings of a wide range of major works, from the early Boy Bitten by a Lizard to the late Martyrdom of Saint Ursula. And with close to 200 color images, The Moment of Caravaggio is as richly illustrated as it is closely argued. The result is an electrifying new perspective on a crucial episode in the history of European painting. Focusing on the emergence of the full-blown "gallery picture" in Rome during the last decade of the sixteenth century and the first decades of the seventeenth, Fried draws forth an expansive argument, one that leads to a radically revisionist account of Caravaggio's relation to the self-portrait; of the role of extreme violence in his art, as epitomized by scenes of decapitation; and of the deep structure of his epoch-defining realism. Fried also gives considerable attention to the art of Caravaggio's great rival, Annibale Carracci, as well as to the work of Caravaggio's followers, including Orazio and Artemisia Gentileschi, Bartolomeo Manfredi, and Valentin de Boulogne.

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Born in Mexico in 1935 and a resident of Washington State for nearly five decades, Alfredo Arreguín has long been recognized as a major force in pattern painting. His canvases are tapestries that mingle diverse and interpenetrating influences and images: the traditional crafts of his native Michoacán; the lush rainforests of his homeland and of the Pacific Northwest; Japanese ukiyo-e prints; sacred and endangered animals; gods and and totemic figures; icons like Frida Kahlo and César Chávez; and motifs including masks, eyes, and abstractly patterned tiles. But Arreguin’s paintings, for all the apparent flatness of their surfaces, conceal an astonishing depth of perspective. The basis of their composition is a grid of colorful patterns applied to superimposed planes, and below the surface of each completed painting are many others, transformed by the artist’s strategic occlusions and erasures. The result is an exuberant, phosphorescent visual interplay in which images combine to form other images, yielding a potent narrative power and pointing up the profound, ambiguous symbiosis between human beings and nature, fiction and reality, and the natural and supernatural worlds. Lauro Flores reveals Alfredo Arreguin as "a genuinely American painter, in the real, hemispheric sense of this term" - an artist of magic, mystery, and revelation whose place in the history of North American art has already been secured. Twenty-three new paintings are included in the second edition of this highly regarded book first published in 2002.

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Art history as we know it would not exist without Vasari, and Barolsky shows us that something of the same claim should be made for literary history. He demonstrates the ways in which a literary approach to Vasari's book deepens our understanding of its historical, art-historical, and imaginative character. Why Mona Lisa Smiles discusses Vasari's shrewd, witty, intimate awareness of Dante, Petrarch, and Boccaccio and relates the Lives to the works of Castiglione, Aretino, Cellini, and Rabelais. Barolsky reveals the unexpected fantasy of Vasari, who imagined and then invented artists and works of art, totally fabricating the lives of artists about whom he knew little or nothing. Barolsky traces the myth of Pygmalion through the Lives, demonstrating that Vasari was himself a Pygmalion in words and showing how he wittily played on the names of artists, revealing these poetical fantasies as part of the very iconography of Renaissance art. By approaching the Lives as a combination of genres—biography, history, novella, autobiography, novel, and literary banquet—Barolsky connects Vasari's highly fictionalized history to the modern historical novel. The fictional character of Vasari's book should not be ignored or dismissed by art historians, Barolsky insists, since it is itself a historical document—the record of how a painter and writer of extraordinary sensibility beheld works of art at a particular moment in history. Barolsky's unique approach to the Lives makes this study a valuable contribution to the history of the reception of art.

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Despite his posthumous fame as a painter of flowers, still-lifes, gardens, landscapes and city scenes, during his lifetime Vincent van Gogh believed that his portraits constituted his most important works. Although as an artist he was ‘touched by so many different things’, he was nevertheless committed to the art of portraiture – a quality that distinguished him from his contemporaries. Van Gogh was passionate in his avoidance of bland, photographic resemblances, in the hope of capturing the essential character of his models by means of expressive colour and brushwork. Showcasing a dramatic set of portraits created during Van Gogh’s ten-year career, this book reflects the strong visual impact with which the artist captured the diversity of contemporary life. In his many portraits, we can discern the artist’s desire to record expressively a number of themes, from the plight of the agricultural workers in his native Brabant and the destitution of prostitutes and their children in urban Europe, to the lives of his cosmopolitan acquaintances in Paris, including café owners and art dealers. It was here that he began his remarkable sequence of self-portraits. With reference to Van Gogh’s extensive correspondence, Skea elaborates how the artist perceived his chosen subjects as would a writer, and how he felt that his portraits should somehow evoke what he considered to be the spiritual underpinning of human existence

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Explore Dún Laoghaire and its coastal surroundings with local painter, historian and writer Peter Pearson as he reveals the story behind its transformation from rocky granite shoreline to grand Victorian ‘watering place’. Peter Pearson is a Dún Laoghaire man, familiar with every brick and stone of the harbour and town. Here he traces the social, historical and architectural development of Dún Laoghaire, Sandycove and Dalkey, from a stretch of granite coastline with a small fishing village up to the present day. Pearson tells the story of a harbour designed to be a refuge from storms. Begun in 1816, and built in Dalkey granite, it is one of the most attractive artificial harbours in the world. It witnessed one of the world’s first lifeboat services, the fastest mail and passenger boats of the day, and the arrival of the first railway line in Ireland. Pearson also examines the social dimension, from the early settlement and development of houses and villas, with evocative names like Sorrento and Vico, to the slum alleys of Kingstown and the first council housing. With over 250 illustrations, including early maps and many previously unseen photographs and images, this is a fascinating journey through the history and heritage of Dún Laoghaire, Sandycove and Dalkey. Praise for Peter Pearson’s Decorative Dublin: ‘Beautifully illustrated … contains endless riches.’ The Sunday Tribune ‘[Pearson] writes with enthusiasm and knowledge about his subject.’ Frank McDonald, The Irish Times ‘Pearson’s is an infectious passion.’ Books Ireland

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The enthralling story of an eighteenth-century family and their extraordinary achievements.Four brothers, three sisters. Brought up in a Northumberland rectory and in the close of Durham Cathedral, the Sharps would achieve exalted positions at the heart of British society. In 1781, the celebrated painter Johan Zoffany put the final brush strokes on the luminous portrait that immortalised the siblings’ rise, and their remarkable unity and passion for life. Ambitious, free-thinking and courageous, the Sharps were pioneers in the major movements that defined the eighteenth century – from political reform and philanthropy to medicine and industry. John, an eminent priest, established a model welfare state at Bamburgh Castle and commissioned the world’s first lifeboat; William became surgeon to George III; while James was a visionary inventor, canal promoter and engineer. Most famously of all, Granville, the youngest son, battled tirelessly as Britain’s first great campaigner for the abolition of the slave trade. Despite the social strictures of their day, Elizabeth, Judith and Frances claimed significant independence, and played key roles in hosting the Sharps’ famous musical parties on barges on the Thames.In this vivid, moving biography, Hester Grant charts the siblings’ shared journey to prominence, and explores the values and enduring bonds that inspired their success. The Good Sharps brings to life not just these men and women who realised that the future could be different, but also the new world they created.

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Creating Connections features over 70 paintings, sculptures, drawings, and watercolours from the Rosenthal Collection of work by self-taught artists. This richly illustrated publication explores the mysterious connections we have with works of art and examines the journey into the meaning of art for its creators. It looks at the historic approaches to the creations of self-taught artists and the problems inherent in their interpretation. It also considers where we should go to achieve a more equitable and inclusive art history. The Rosenthal Collection comprises a significant and notably varied grouping. Not only does it cover a broad mix of American names including Earl Cunningham, Henry Darger, Thornton Dial, Bill Traylor, Sister Gertrude Morgan, Ralph Fasanella, Martin Ramirez, and Janet Sobel, it also includes non-US artists Carlo Zinelli, Hiroyuki Doi, Adolf Woelfli, Donald Pass, and Nek Chand among others. Jean Dubuffet, the French painter who famously promoted their study, is also featured. An illustrated interview by Julie Aronson with Richard Rosenthal provides special insight into the collector who has brought together this exceptionally diverse array of work. Essays by Olivia Sagan and Charles Russell look at the need for a more nuanced approach to these artists and their work, at the history of its appreciation (including terminology such as "Outsider Art"), and examine the work in the context of autobiography, trauma, connection, and remembering.

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First study of the role of architecture in the work of Thomas Cole, founder of the Hudson River School of American painting. At the height of his career as the leader of the Hudson River School of American landscape painting, Thomas Cole listed himself in the New York City Directory as an architect. Why would this renowned painter, who had never before designed a building, advertise himself as such? The importance of Cole’s paintings and the significance of his essays, poems, and philosophy are well established, yet an analysis of his architectural endeavors and their impact on his painting has not been undertaken - until now. In celebration of the recreation of the artist’s self-designed Italianate studio at Cedar Grove in Catskill, New York, now the Thomas Cole National Historic Site, this book focuses on Cole’s architectural interests through architectural elements found in his paintings and drawings as well as in his realized and visionary projects, expanding our understanding of the breadth of his talents and interests. An essay by noted art historian Annette Blaugrund and a contribution by Franklin Kelly, illustrated with Cole’s famous works, sketches, and architectural renderings, reveal an unexplored, yet fascinating, aspect of the career of this beloved artist—and thus, a crucial moment in the development of the Hudson River School and American art. Published to coincide with the exhibition “Thomas Cole: The Artist as Architect” at the Thomas Cole National Historic Site and travelling to the Columbus Art Museum, the book adds a new dimension to scholarship on the artist.

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A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand, and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. Twentieth-century painter, designer and wood engraver Eric Ravilious was responsible for a whole host of different works, including book illustrations, woodcuts and ceramic designs for the Wedgwood pottery firm. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

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Pieter Bruegel (ca. 1525-1569), generally considered the greatest Flemish painter of the sixteenth century, was described in 1604 by his earliest biographer as a supremely comic artist, few of whose works failed to elicit laughter. Today, however, we approach Bruegel's art as anything but a laughing matter. His paintings and drawings are thought to conceal profound allegories best illuminated with scholarly erudition. In this delightfully engaging book, Walter S. Gibson takes a new look at Bruegel, arguing that the artist was no erudite philosopher, but a man very much in the world, and that a significant part of his art is best appreciated in the context of humor. In his illuminating examination of the witty and amusing elements in Bruegel's paintings, prints, and drawings in relation to the sixteenth century European culture of laughter, Gibson reminds us exactly why Bruegel was one of the most original artists of his time. In a series of engrossing chapters, Gibson explores the function and production of laughter in the sixteenth century, examines the ways in which Bruegel exploited the comic potential of Hieronymus Bosch, and traces how the artist developed his remarkable gift for physiognomy in his work, culminating in three paintings of festive peasants he produced during the 1560s: the Wedding Dance, the Kermis, and the Wedding Banquet. Gibson also takes a detailed look at the Dulle Griet, Bruegel's most complex evocation of Bosch.

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A new study of the early Renaissance portraitIn fourteenth-century Italy, ever more women and men—not only clergy but also laity—introduced their own portraits into sacred paintings. Images of modern supplicants, submissive and prayerful, shared space with the holy narratives. The portraits mimicked the first worshippers of Christ: Mary, the Three Magi, Mary Magdalene. At the same time, they modeled, for modern viewers, ideal involvement in the emotion-laden stories. In The Embedded Portrait, Christopher S. Wood traces these incursions of the real and profane into Florentine sacred painting between Giotto and Fra Angelico.The portraits not only intruded upon a sacred space, but also intervened in an artwork. The pressure exerted by the modern interlopers—their lives and experiences, implied by their portraits—threatened the formal closure that had served as a powerful symbolic form of the pact between God and humans. The Embedded Portrait reconstructs this art historical drama from the point of view of the artists rather than the patrons. Following clues left by Vasari, the book assigns a leading role to the painter Giottino, or “little Giotto.” Little-known today but highly regarded in his lifetime, Giottino proposed a new manner of painting that was later realized by Fra Angelico through his own innovative approach to the problem of the embedded portrait.Seeking not to stabilize the artworks but to extend their reach, the interpretations offered in The Embedded Portrait re-create and update the psychic and libidinal energies that gave rise to these works in the first place.

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A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. Angela Harding is a fine art painter and illustrator based in Rutland, UK. She specialises in lino prints and her work is inspired by British birds and the countryside. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

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A FLAME TREE POCKET NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand, and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. Angela Harding is a fine art painter and illustrator based in Rutland, UK. She specialises in lino prints and her work is inspired by British birds and countryside. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

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On December 28, 1817, the eccentric painter B. R. Haydon gave a famous dinner party in his painting room in London. He invited, among others, three of the greatest literary lights of the age: the poets John Keats and William Wordsworth and the essayist and wit Charles Lamb. Over the course of a long winter evening of delights, the guests recited poetry, indulged in high-minded conversation, and took part in ridiculous antics, with such displays of brilliance and wit that the party came to be known as the Immortal Dinner. Penelope Hughes-Hallett celebrates this unique gathering by vividly bringing to life these illustrious diners against a backdrop of social change. Literary London society was at its extraordinarily gifted best just two years after Waterloo: the Elgin Marbles controversy still raged; Mrs. Siddons performed Lady Macbeth in her drawing room to a distinguished audience; Joseph Ritchie, a young physician and would-be poet, prepared to explore the River Niger with a copy of Keats in his pocket. The Immortal Dinner offers a fascinating glimpse into the lives and thoughts of this literary elite at a turning point in English society. It recaptures these rare spirits, using a great many of their own words from letters and diaries. With 75 black-and-white illustrations and 2 maps.

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A spectacular and unprecedented visual biography of the leading pioneers and protagonists of modern art and design Josef - painter, designer, and teacher - and Anni Albers - textile artist and printmaker - are among the twentieth century's most important abstract artists, and this is the first monograph to celebrate the rich creative output and beguiling relationship of these two masters in one elegant volume. It presents their life and work as never before, from their formative years at the Bauhaus in Germany to their remarkable influence at Black Mountain College in the United States through their intensely productive period in Connecticut. Accessibly written, the book is packed with more than 750 artworks, archival images, and documents - many published here for the first time - all tracing the remarkable lives and careers of this legendary couple. Dispersed throughout area series of short essays on artists that focuses on the Alberses relationship with a number of important artists and architects of the 20th century, like Ruth Asawa, Marcel Breuer, Merce Cunningham, Philip Johnson, Paul Klee, Jacob Lawrence, and many more. The beautifully cloth-bound package utilizes an elegant color palette and design that speaks to the work of both artists. This comprehensive visual biography showcases the artists' rich and dynamic lives, and their infinite influence on each other, as they shared the profound conviction that art was central to human existence.

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Uncovers the extraordinary breadth of designer Mariano Fortuny, including and beyond his fashion output, alongside the personal and political catalysts that inspired him Mariano Fortuny y Madrazo (1871–1949) was a polymath who experimented in a variety of media including electric lighting, stage design, photography, the development of pigments, and textile and garment design. Yet his vision as a painter, persistently attuned to light and color, shaped all his artistic endeavors. Fortuny: Time, Space, Light examines Fortuny’s Venetian workspaces, clothing designs, stage lighting inventions, and paintings to find unifying themes of revivalism, memory, light, magic, and secrecy that run throughout his wide-ranging career. It features new archival discoveries, including unseen artworks and unpublished personal writings, as well as a new analysis of Fortuny’s paintings, never-before discussed in an English-language publication. In addition to providing historical context and visual analysis of his work, the book delves into the relationships between Fortuny and Proust, Wagnerian opera, and Italian fascism. It also aims to illuminate more of Fortuny’s personal motivations through new archival evidence and unpublished notes to explore how his object collection and library were used as catalysts for his innovative creations.

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Apart from a handful of art historians no one has ever heard of the Brussels painter Hendrick De Clerck (1560-1630). Nevertheless, De Clerck was a contemporary of Peter Paul Rubens, the latter having gone down in history as an artistic trailblazer and painting powerhouse, while Hendrick De Clerck has quietly faded into oblivion. Yet the subtly coded, vibrantly coloured pictures that De Clerck painted for Archduke Albert of Austria and his wife Isabella are political propaganda of the highest order. In creating a mode of archducal representation that could help to gain an empire, the sky is quite literally the limit. De Clerck represents Isabella as wise Minerva, chaste Diana, the Virgin Mary. And that's nothing compared to her husband, for in De Clerck's paintings Albert is transformed into the sun god Apollo or even into Jesus Christ himself. Hendrick De Clerck's mastery of ingenious pictorial strategy made him a leading player in one of the most ambitious projects history has ever seen. For those who know how to read them, his paintings tell a story of power, political promises, and grandiose ambition. Most of all, they are supreme examples of image-building; for as the Archdukes were well aware, even as a monarch you're only as important as you make yourself.

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A smartly designed and beautifully illustrated look at the life and work of an elusive and influential designer and architect Eileen Gray (1878–1976) was a versatile designer and architect who navigated numerous literary and artistic circles over the course of her life. This handsome volume chronicles Gray’s career as a designer, architect, painter, and photographer. The book’s essays, featuring copious new research, offer in-depth analysis of more than 50 individual designs and architectural projects, accompanied by both period and new photographs. Born in Ireland and educated in London, Gray proceeded to Paris where she opened a textile studio, studied the Japanese craft of lacquer that would become a primary technique in her design work, and owned and directed the influential gallery and store known as “Jean Désert.” Gray struggled for acceptance as a largely self-taught woman in male-dominated professions. Although she is now best known for her furniture, lighting, and carpets, she dedicated herself to many architectural and interior projects that were both personal and socially driven, including the Villa E 1027, the iconic modern house designed with Jean Badovici, as well as economical and demountable projects, such as the Camping Tent. Published in association with the Bard Graduate CenterExhibition Schedule:Bard Graduate Center Gallery, New York (February 28–July 12, 2020)

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A celebration of the American painter's life and work in the region he loved best In 1883 American artist Winslow Homer (1836–1910) moved his studio from New York City to Prouts Neck, a slip of coastline just south of Portland, Maine. Here, over the course of twenty-five years, Homer produced his most celebrated and emotionally powerful paintings, which often depicted the dramatic views and storm-strewn skies around his home. Homer's influence and the Prouts Neck area would have a profound effect on the rise of a new American modernism, inspiring the artists who followed him.This beautifully illustrated catalogue celebrates Homer's legacy at Prouts Neck, and documents the Portland Museum of Art's six-year conservation project to preserve the Winslow Homer Studio, the former carriage house in which Homer lived and worked. Photographs of the studio and site, never before open to the public, highlight views that are recognizable as the subject of so many of Homer's paintings. Essays by leading scholars examine his iconic masterpieces; his artistic development in Prouts Neck; the architecture of his studio; his relationship to French painting; and the full range of his marine paintings.Published in association with the Portland Museum of ArtExhibition Schedule:Portland Museum of Art(09/22/12-12/30/12)

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In 1925 the artists Edward Bawden and Eric Ravilious moved to the Essex village of Great Bardfield, at first sharing lodgings. Over the course of several years and encouraged by Bawden and Ravilious' work, other artists came to live in the village, forming a community of artists and designers that has continued to the present. Among the first to join them were the Rowntrees, Kenneth and Diana, and Michael Rothenstein and his wife Duffy Ayers. They were followed by John Aldridge, painter and designer of wallpapers (printed, like Bawden's papers, by the Curwen Press); Walter Hoyle, printmaker and also a wallpaper designer; Marianne Straub, textile designer and weaver; illustrators and printmakers Bernard Cheese and his wife Sheila Robinson. Though the careers of Bawden and Ravilious are well-documented, many of the other artists are less well-known but equally talented, such as George Chapman, Stanley Clifford-Smith and Laurence Scarfe.This book tells the story of Great Bardfield and its artists, and their famous 'open house' exhibitions, showing how the village and neighbouring landscape nurtured a distinctive style of art, design and illustration from the 1930s to the 1970s and beyond. '..their shared artistic legacy is immediately obvious from this beautiful book.' --Country Life 16th 23rd December 2015'..Beautifully designed.' --Evening Standard 24th December 2015'..splendidly illustrated' -- The Spectator, 28th November 2015

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A curious gem of 19th-century gothic fiction Cecil Dreeme is one of the queerest American novels of the 19th century. This edition, which includes a new introduction contextualizing the sexual history of the period and queer longings of the book, brings a rare, almost forgotten, sensational gothic novel set in New York’s West Village back to light. Published posthumously in 1861, the novel centers on Robert Byng, a young man who moves back to New York after traveling abroad and finds himself unmarried and underemployed, adrift in the heathenish dens of lower Manhattan. When he takes up rooms in “Chrysalis College”—a thinly veiled version of the 19th-century New York University building in Washington Square—he quickly finds himself infatuated with a young painter lodging there, named Cecil Dreeme. As their friendship grows and the novel unfolds against the backdrop of the bohemian West Village, Robert confesses that he “loves Cecil with a love passing the love of women.” Yet, there are dark forces at work in the form of the sinister and magnetic Densdeth, a charismatic figure of bad intention, who seeks to ensnare Robert for his own. Full of romantic entanglements, mistaken identity, blackmail, and the dramas of temptation and submission, Cecil Dreeme is a gothic novel at its finest. Poetically written—with flashes of Walt Whitman, Charles Dickens, and Oscar Wilde—Cecil Dreeme is an early example of that rare bird, a queer novel from the 19th century.

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